Phonological Processes in Ekegusii Borrowing: A Constraint-based Approach

Phonological processes are at the heart of linguistic borrowing as it has varied phonological systems. It could be seen that the loan words entering the loan language from the source language can hardly be separated from the phonological process because they must be modified to suit the phonology of the loan language. This article analysed the phonological processes realized in Ekegusii borrowing from English using Optimality Theory’s constraint approach. Since this was a phonological study, descriptive linguistic fieldwork was used. The data used in this article was extracted from Mose’s doctoral study, whereby purposive sampling was used to obtain two hundred borrowed segments from the Ekegusii dictionary, then supplemented by introspection. Further, three adult native proficient Ekegusii speakers who were neither too young nor too old and had all their teeth were purposively sampled. The two hundred tokens were then subjected to the sampled speakers through interviews to realize the sound patterns in the Ekegusii borrowing process overtly. The findings revealed that Ekegusii phonological constraints defined the well-formedness of the loanwords by repairing the illicit structures. To fix, various phonological processes were realized. They included: epenthesis, deletion, devoicing/strengthening, voicing/ weakening, re-syllabification, substitution, monophthongization, and lenition. The article concludes that borrowing across languages (related or unrelated) reports similar if not the same phonological processes only that the processes attested in one language are a subset of the universally exhibited phonological processes.

Sound and Ritualistic Language in Charles Williams’ War in Heaven

This study uncovers a link between sound patterns and ritualistic language in Charles Williams’ novels through an analysis of the relationship between type of sound and content. The study focuses on War in Heaven with a view to conducting a preliminary exploration into this link, and establishing possibilities for future research. Like Williams’ other novels, War in Heaven is saturated with the symbolism and ritual practices he learned in The Fellowship of the Rosy Cross and, potentially, the Hermetic Order of the Golden Dawn. Williams’ experimentation with sound to convey his experience of ritual is explored through the framework of Roman Jakobson’s “Poetic Function”, to establish how Williams may have intended sound to contribute to the experience of the reader. Using a data driven approach, the study explores how sound patterns work with ritualistic content across War in Heaven, discovering a link between fricative sounds and ritualistic events.

Sound Patterns as Connectors: An Experimental Production of Three Sisters

The actor is tasked with embodying text in order to portray the characters’ intentions. This article shows that such a complex task escalates when the actor performs in a second language. In South Africa, where eleven official languages are embraced, the multiplicity and crossover of spoken languages is a daily challenge for actors and theatre makers, leading to a preference for physical performances, which limits the use of text. The production of embodied sound patterns embedded in a text informed the creative process of an experimental production of Chekhov’s Three Sisters. It was created with a second-language cast (speakers of Setswana and Afrikaans) whose over-arching goal was to consider the embodied patterns of pre-linguistic expression as a theatre-making tool. When reflecting on their work, the actors indicated that their explorations facilitated a connection with the text in English and generated the relevant dynamics for the play’s sociopolitical themes to be adequately ‘translated’ to a contemporary multilingual South African context. Karina Lemmer is a Senior Lecturer in the Department of Performing Arts at Tshwane University of Technology in Gauteng, where she teaches acting and voice. She has directed a number of multilingual productions, including Buried Voices (2018) and Motlotlegi (2019), and has published in the Voice and Speech Review (2018).

The extraction of beautiful sound patterns from Sunthorn Phu’s poem using machine learning technique and internal rhyme rule

The melodious poems have been written from the distinctive features of poetry or based on each country's typical style. Especially, Thai poems which composed by the use of specific forming, such as Internal Rhyme to develop melodiousness. The most attractive and well-known poems were composed by a genius Thai poet named Sunthorn Phu. He is a role model for Thai poets. UNESCO honored him as the world’s great poet and the best role model in poetry works. In this article, we proposed extracting 15,796 sentences (Waks) of the beautiful sound patterns of Phra Aphai Mani’s tales by machine learning technology in conjunction with the rules of internal Rhyme Klon-Suphap by using the Apriori Algorithm. The extraction of vowel rhymes separated by a group of Waks including 1) Poem Wak No. 1; 2) Poem Wak No. 2; 3) Poem Wak No. 3; and 4) Poem Wak No. 4. In this article, “Wak” means sentence. The created tool can extract the internal rhyme patterns and the 25 popular pattern vowels. The popular pattern illustrates the melodiousness of the Poem and sets up a standard of how to melodiously compose a poem. Then, the evaluation of the experiments was done by using 144 Waks selected from the extraction of the beautiful patterns and evaluated by the consistency score from 3 experts. The average accuracy score resulted in 95.30%.

Auditory Pattern Representations Under Conditions of Uncertainty—An ERP Study

The auditory system is able to recognize auditory objects and is thought to form predictive models of them even though the acoustic information arriving at our ears is often imperfect, intermixed, or distorted. We investigated implicit regularity extraction for acoustically intact versus disrupted six-tone sound patterns via event-related potentials (ERPs). In an exact-repetition condition, identical patterns were repeated; in two distorted-repetition conditions, one randomly chosen segment in each sound pattern was replaced either by white noise or by a wrong pitch. In a roving-standard paradigm, sound patterns were repeated 1–12 times (standards) in a row before a new pattern (deviant) occurred. The participants were not informed about the roving rule and had to detect rarely occurring loudness changes. Behavioral detectability of pattern changes was assessed in a subsequent behavioral task. Pattern changes (standard vs. deviant) elicited mismatch negativity (MMN) and P3a, and were behaviorally detected above the chance level in all conditions, suggesting that the auditory system extracts regularities despite distortions in the acoustic input. However, MMN and P3a amplitude were decreased by distortions. At the level of MMN, both types of distortions caused similar impairments, suggesting that auditory regularity extraction is largely determined by the stimulus statistics of matching information. At the level of P3a, wrong-pitch distortions caused larger decreases than white-noise distortions. Wrong-pitch distortions likely prevented the engagement of restoration mechanisms and the segregation of disrupted from true pattern segments, causing stronger informational interference with the relevant pattern information.

High-level language brain regions are sensitive to sub-lexical regularities

A network of left frontal and temporal brain regions supports 'high-level' language processing-including the processing of word meanings, as well as word-combinatorial processing-across presentation modalities. This 'core' language network has been argued to store our knowledge of words and constructions as well as constraints on how those combine to form sentences. However, our linguistic knowledge additionally includes information about sounds (phonemes) and how they combine to form clusters, syllables, and words. Is this knowledge of phoneme combinatorics also represented in these language regions? Across five fMRI experiments, we investigated the sensitivity of high-level language processing brain regions to sub-lexical linguistic sound patterns by examining responses to diverse nonwords-sequences of sounds/letters that do not constitute real words (e.g., punes, silory, flope). We establish robust responses in the language network to visually (Experiment 1a, n=605) and auditorily (Experiments 1b, n=12, and 1c, n=13) presented nonwords relative to baseline. In Experiment 2 (n=16), we find stronger responses to nonwords that obey the phoneme-combinatorial constraints of English. Finally, in Experiment 3 (n=14) and a post-hoc analysis of Experiment 2, we provide suggestive evidence that the responses in Experiments 1 and 2 are not due to the activation of real words that share some phonology with the nonwords. The results suggest that knowledge of phoneme combinatorics and representations of sub-lexical linguistic sound patterns are stored within the same fronto-temporal network that stores higher-level linguistic knowledge and supports word and sentence comprehension.

‘I start again with every story, listening’: Sound, silence and voice in two short stories by David Constantine

This article examines sound and the sonic aspects of voice and silence in two short stories by David Constantine – ‘Tea at the Midland’ and ‘Under the Dam’ – to show that they are not only relevant for an analysis of his poetry but also for his short stories. Employing Jonathan Sterne’s definition of sonic culture as a theoretical starting point, the phonotextual (Garrett Stewart) multiplicity of patterns in each text is seen as an alternative to the protagonists-focalizers’ ‘silenced’ situation and is associated with their desired joys in life. In ‘Tea at the Midland’ the withheld soundscape (R. Murray Schafer) of the bay can only be watched but not heard. In the opening of ‘Under the Dam’ the auscultator (Melba Cuddy-Keane) Seth is completely oblivious of his sonic surroundings and effaces sound on the story level, but the narrator reintroduces sound on the level of discourse. Sylvia Mieszkowski’s distinction between the sound of the text and the sound in the text constitutes one of the fundamental concepts of the analysis. The findings and conclusions are interpreted in the context of Constantine’s own poetics as regards the writing of short stories. The sounds of the two short stories reinforce, through metrical, rhythmic, syntactic and sound patterns, the scenes’ withheld sonic qualities that are only perceived visually and sensed emotionally by the protagonists. These soundscapes represent alternative worlds desired by the protagonists in ‘Under the Dam’ and by the woman in ‘Tea at the Midland’.

Gothic soundscapes and rhythm in Edgar Allan Poe’s short stories

Poe’s tales, though set in decaying, gloomy and silent places, are particularly sonorous. While several sound patterns are prototypical of the gothic (gusts of wind, shutting doors, absolute silence…), others denote Poe’s interest in uncanny sound perception and illusion. Acuteness of the senses is taken to an extreme, and the sounds of death take on a new dimension. Hearing the dead as well as the living, narrators are perpetually on the brink of insanity and draw their readers into a world rhythmed by sounding clocks, hissing pendulums and unstoppable heartbeats. Binary and ternary rhythms alternate, and it is ultimately in their composition that the tales show Poe’s mastery of rhythmic patterns and of their impact on the reading experience. Self-interruptions, refrains and other rhythmic strategies give the tales a dizzying quality, keeping the reader in a perpetual state of suspense.

BENTUK POLA PUKULAN KELUHKUPAN PADA MASYARAKAT SUKU DAYA MUARADUA OKU SELATAN

Keluhkupan is a traditional tool used by the Daya tribe as the conveyor of information by using the main wood (keluhkupan) and stick (helu) which are hit with hard blows that have different rhythmic patterns from the signs of disaster that exist in each wasp of complaints. among them are fatalities, natural disasters and riots. The three strokes have different sound patterns from dynamics, tempo and rhythm. The people who are believed to beat Keluhkupan are only allowed to be traditional leaders (men only) and those who beat Keluhkupan must really know how the sound patterns of Negu Death, Negu Sasah Bencana and Negu Sasah Huru-hara sound patterns. Negu Death is carried out when a villager dies, traditional leaders beat Keluhkupan from soft to stronger with punches from slowly to faster. Negu Sasah This wasp disaster is carried out if there is a disaster tokah adat hitting Keluhkupan powerfully and quickly. Negu Sasah This wasp riot is a sign that there has been a fight between the traditional leaders hitting Keluhkupan quickly and strongly, indicating haste or Kesasah.